Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted as musicians for about two centuries) that Ravel intended to be evoked, along with the friends, would presumably be François Couperin "the Great" (1668-1733). However, Ravel stated that his intention was never to imitate or tribute Couperin himself, but rather was to pay homage to the sensibilities of the BaroqueFrench keyboard suite. This is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's forlane structurally. However, Ravel's neoclassicism shines through with his pointedly twentieth-century chromatic melody and piquant harmonies.
When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."

Orpheus Chamber Orchestra

The Orpheus Chamber Orchestra (founded 1972) is a Grammy Award-winning classical musicchamber orchestra based in New York City. It is known for its collaborative leadership style in which the musicians, not a conductor, interpret the score.

Group biography

Orpheus Chamber Orchestra was founded in 1972 by Julian Fifer and a group of like-minded young musicians determined to combine the intimacy and warmth of a chamber ensemble with the richness of an orchestra. With 71 albums, including the Grammy Award-winning Shadow Dances: Stravinsky Miniatures, and 42 commissioned and premiered original works, Orpheus rotates musical leadership roles for each work, and strives to perform diverse repertoire through collaboration and open dialogue.

Performing without a conductor, Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues.

Orpheus

Orpheus (/ˈɔːrfiəs, ˈɔːrfjuːs/; Greek: Ὀρφεύς) was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting.

For the Greeks, Orpheus was a founder and prophet of the so-called "Orphic" mysteries. He was credited with the composition of the Orphic Hymns, a collection of which survives. Shrines containing purported relics of Orpheus were regarded as oracles. Some ancient Greek sources note Orpheus' Thracian origins.

Background

The earliest literary reference to Orpheus is a two-word fragment of the sixth-century BC lyric poet Ibycus: onomaklyton Orphēn ("Orpheus famous-of-name"). He is not mentioned in Homer or Hesiod. Most ancient sources accept his historical existence; Aristotle is an exception.

As a digit

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small. This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeralI. In some countries, the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

Aaron Copland: Appalachian Spring (Suite)

Maurice Ravel - Le tombeau de Couperin, for orchestra

Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted as musicians for about two centuries) that Ravel intended to be evoked, along with the friends, would presumably be François Couperin "the Great" (1668-1733). However, Ravel stated that his intention was never to imitate or tribute Couperin himself, but rather was to pay homage to the sensibilities of the BaroqueFrench keyboard suite. This is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's forlane structurally. However, Ravel's neoclassicism shines through with his pointedly twentieth-century chromatic melody and piquant harmonies.
When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

Orpheus Music meets Business Part 1/4

The Orpheus Chamber OrchestraPresents: Music Meets Business. DVD. Directed by Ayelet Heller. [Germany]: EuroArts Music International, 2005. 2051837. $16.99.
The Orpheus Chamber Orchestra, established in Boston in 1972 was founded by cellist, Julian Fifer, with the intent of creating a professional ensemble that performed professionally without a conductor. That did not mean however that its performances were without leadership. The leadership was planned from the start to be internal and shared by all players. Within a given composition, leadership roles are dictated by the music, giving more weight to those performers whose musical roles are more substantial. This model, based on the standard performing mode for chamber music, has precedent in Baroque performance practice, where the keyboard player (generally a harpsichordist) conducted from the instrument, all the while taking part in the music making. In theClassical era, Mozart performed most of his piano concertos in this manner as well. Still, the pervasiveness and steadfast intent of Orpheus's conductorless band of 20--25 musicians over the last 33 years makes this chamber orchestra unique. The numerous Grammy winning CDs and DVDs the group has produced and their yearly concert seasons and tours attest to their success and popularity.
Orpheus Chamber Orchestra Presents: Music Meets Business, a film by Ayelet Heller, presents the "Orpheus Process" and how its adaptation might influence the management styles of business organizations throughout the world. In the 1980's, chief executive officers (CEOs) began to notice Orpheus's internal self-management system, and marveled at how well everyone worked together, like a "well oiled machine" with leadership, individual responsibility and cooperation the necessary norms to achieve stunning and highly elevated music making at its concerts. This DVD features CEO interviews and actual workshop sessions (rehearsals followed by performance) where Orpheus demonstrates its modus operandi for such diverse business organizations as Harvard University School of Business, Morgan Stanley, both in New York and Japan, and DaimlerChrysler in Berlin. Executives marvel that when the players might disagree, no one tried to dominate or steal the limelight. Every group member has a voice, and is respected for their ideas, opinions and talents. With this level of respect, members might agree to disagree without adversely affecting the music making.
Business leaders, looking for new management models capable of responding with flexibility and creativity in today's high tech, instantaneous environment have reacted very positively to the values of the Orpheus Process. Taking the principles of Orpheus and applying them to corporate business brings hope for a revolution in how businesses are managed, and a renewed vision of valued teamwork and creative contributions. For musicians and all in the business world this DVD explores stimulating concepts, which if embraced, could transform and improve the bottom line of any organization.
Kathleen Haefliger
Chicago State University

Aaron Copland: Appalachian Spring (Suite)

Maurice Ravel - Le tombeau de Couperin, for orchestra

Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted...

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofi...

Orpheus Music meets Business Part 1/4

The Orpheus Chamber OrchestraPresents: Music Meets Business. DVD. Directed by Ayelet Heller. [Germany]: EuroArts Music International, 2005. 2051837. $16.99.
The Orpheus Chamber Orchestra, established in Boston in 1972 was founded by cellist, Julian Fifer, with the intent of creating a professional ensemble that performed professionally without a conductor. That did not mean however that its performances were without leadership. The leadership was planned from the start to be internal and shared by all players. Within a given composition, leadership roles are dictated by the music, giving more weight to those performers whose musical roles are more substantial. This model, based on the standard performing mode for chamber music, has precedent in Baroque performance practice, where the ke...

Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted as musicians for about two centuries) that Ravel intended to be evoked, along with the friends, would presumably be François Couperin "the Great" (1668-1733). However, Ravel stated that his intention was never to imitate or tribute Couperin himself, but rather was to pay homage to the sensibilities of the BaroqueFrench keyboard suite. This is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's forlane structurally. However, Ravel's neoclassicism shines through with his pointedly twentieth-century chromatic melody and piquant harmonies.
When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."

Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted as musicians for about two centuries) that Ravel intended to be evoked, along with the friends, would presumably be François Couperin "the Great" (1668-1733). However, Ravel stated that his intention was never to imitate or tribute Couperin himself, but rather was to pay homage to the sensibilities of the BaroqueFrench keyboard suite. This is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's forlane structurally. However, Ravel's neoclassicism shines through with his pointedly twentieth-century chromatic melody and piquant harmonies.
When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107...

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

The Orpheus Chamber OrchestraPresents: Music Meets Business. DVD. Directed by Ayelet Heller. [Germany]: EuroArts Music International, 2005. 2051837. $16.99.
The Orpheus Chamber Orchestra, established in Boston in 1972 was founded by cellist, Julian Fifer, with the intent of creating a professional ensemble that performed professionally without a conductor. That did not mean however that its performances were without leadership. The leadership was planned from the start to be internal and shared by all players. Within a given composition, leadership roles are dictated by the music, giving more weight to those performers whose musical roles are more substantial. This model, based on the standard performing mode for chamber music, has precedent in Baroque performance practice, where the keyboard player (generally a harpsichordist) conducted from the instrument, all the while taking part in the music making. In theClassical era, Mozart performed most of his piano concertos in this manner as well. Still, the pervasiveness and steadfast intent of Orpheus's conductorless band of 20--25 musicians over the last 33 years makes this chamber orchestra unique. The numerous Grammy winning CDs and DVDs the group has produced and their yearly concert seasons and tours attest to their success and popularity.
Orpheus Chamber Orchestra Presents: Music Meets Business, a film by Ayelet Heller, presents the "Orpheus Process" and how its adaptation might influence the management styles of business organizations throughout the world. In the 1980's, chief executive officers (CEOs) began to notice Orpheus's internal self-management system, and marveled at how well everyone worked together, like a "well oiled machine" with leadership, individual responsibility and cooperation the necessary norms to achieve stunning and highly elevated music making at its concerts. This DVD features CEO interviews and actual workshop sessions (rehearsals followed by performance) where Orpheus demonstrates its modus operandi for such diverse business organizations as Harvard University School of Business, Morgan Stanley, both in New York and Japan, and DaimlerChrysler in Berlin. Executives marvel that when the players might disagree, no one tried to dominate or steal the limelight. Every group member has a voice, and is respected for their ideas, opinions and talents. With this level of respect, members might agree to disagree without adversely affecting the music making.
Business leaders, looking for new management models capable of responding with flexibility and creativity in today's high tech, instantaneous environment have reacted very positively to the values of the Orpheus Process. Taking the principles of Orpheus and applying them to corporate business brings hope for a revolution in how businesses are managed, and a renewed vision of valued teamwork and creative contributions. For musicians and all in the business world this DVD explores stimulating concepts, which if embraced, could transform and improve the bottom line of any organization.
Kathleen Haefliger
Chicago State University

The Orpheus Chamber OrchestraPresents: Music Meets Business. DVD. Directed by Ayelet Heller. [Germany]: EuroArts Music International, 2005. 2051837. $16.99.
The Orpheus Chamber Orchestra, established in Boston in 1972 was founded by cellist, Julian Fifer, with the intent of creating a professional ensemble that performed professionally without a conductor. That did not mean however that its performances were without leadership. The leadership was planned from the start to be internal and shared by all players. Within a given composition, leadership roles are dictated by the music, giving more weight to those performers whose musical roles are more substantial. This model, based on the standard performing mode for chamber music, has precedent in Baroque performance practice, where the keyboard player (generally a harpsichordist) conducted from the instrument, all the while taking part in the music making. In theClassical era, Mozart performed most of his piano concertos in this manner as well. Still, the pervasiveness and steadfast intent of Orpheus's conductorless band of 20--25 musicians over the last 33 years makes this chamber orchestra unique. The numerous Grammy winning CDs and DVDs the group has produced and their yearly concert seasons and tours attest to their success and popularity.
Orpheus Chamber Orchestra Presents: Music Meets Business, a film by Ayelet Heller, presents the "Orpheus Process" and how its adaptation might influence the management styles of business organizations throughout the world. In the 1980's, chief executive officers (CEOs) began to notice Orpheus's internal self-management system, and marveled at how well everyone worked together, like a "well oiled machine" with leadership, individual responsibility and cooperation the necessary norms to achieve stunning and highly elevated music making at its concerts. This DVD features CEO interviews and actual workshop sessions (rehearsals followed by performance) where Orpheus demonstrates its modus operandi for such diverse business organizations as Harvard University School of Business, Morgan Stanley, both in New York and Japan, and DaimlerChrysler in Berlin. Executives marvel that when the players might disagree, no one tried to dominate or steal the limelight. Every group member has a voice, and is respected for their ideas, opinions and talents. With this level of respect, members might agree to disagree without adversely affecting the music making.
Business leaders, looking for new management models capable of responding with flexibility and creativity in today's high tech, instantaneous environment have reacted very positively to the values of the Orpheus Process. Taking the principles of Orpheus and applying them to corporate business brings hope for a revolution in how businesses are managed, and a renewed vision of valued teamwork and creative contributions. For musicians and all in the business world this DVD explores stimulating concepts, which if embraced, could transform and improve the bottom line of any organization.
Kathleen Haefliger
Chicago State University

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofi...

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107...

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

Maurice Ravel - Le tombeau de Couperin, for orchestra

Orpheus Chamber Orchestra.
1.Prèlude.
2.Forlane: Allegretto.
3.Menuet: Allegro moderato.
4.Rigaudon: Assez vil.
Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements. Each movement is dedicated to the memory of friends of the composer who had died fighting in World War I. Ravel himself was an army driver during the war.
The work also exists in an orchestral version, but not all the movements were included.
While the word-for-word meaning of the title invites the assumption that the suite is a programmatic work, describing what is seen and felt in a visit to the tomb of Couperin, tombeau is actually a musical term popular in the 17th century and meaning "a piece written as a memorial". The specific Couperin (among a family noted as musicians for about two centuries) that Ravel intended to be evoked, along with the friends, would presumably be François Couperin "the Great" (1668-1733). However, Ravel stated that his intention was never to imitate or tribute Couperin himself, but rather was to pay homage to the sensibilities of the BaroqueFrench keyboard suite. This is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane (an Italian folk dance) from the fourth suite of Couperin's Concerts royaux, and this piece invokes Ravel's forlane structurally. However, Ravel's neoclassicism shines through with his pointedly twentieth-century chromatic melody and piquant harmonies.
When criticised for composing a light-hearted, and sometimes reflective work rather than a sombre one, for such a sombre topic, Ravel replied: "The dead are sad enough, in their eternal silence."

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

I do not hold copyrights for this material. It is posted solely for the purpose of non profit music education and is protected under "Fair Use"
17 U.S.C. § 107
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
the nature of the copyrighted work;
the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.

Edvard Grieg : Holberg Suite, Op 40 From Holberg’...

Vivaldi - Flute concertos...

LONDON (AP) — A British surgeon has admitted assaulting two patients by burning his initials into their livers during transplant operations ...Bramhall used an argon beam coagulator, which seals bleeding blood vessels with an electric beam, to mark his initials on the organs ... ....

Janet Yellen announced that for the third time this year and the fifth time since the financial crisis, the Federal Reserve was increasing interest rates another quarter of a point on Wednesday, according to National Public Radio. Federal policymakers aid the increase in the benchmark federal funds rate would shift from 1.25 percent to 1.5 percent, the third increase on the key rate this year ...Economic growth in the U.S....

U.S ... on Monday, Dec. 18.The event, held by the West CoastChamber of Commerce, will include an update from Huizenga about what is going on in Washington, D.C., a look at his plans for the coming year and a question and answer portion.The event is currently sold out but if interested in attending, email the West Coast Chamber at events@westcoastchamber.org to be added to the waiting list. Tickets... ....

Republican congressional leaders have reportedly reached an agreement on a tax reform bill. The GOP has been under immense pressure to pass an overhaul bill ...Multiple changes were reportedly made as part of the agreement ... SEE MORE ... Republicans hope to have the tax bill passed by both chambers and on PresidentDonald Trump's desk before Christmas.&nbsp; ... ....

HOMOSASSA — The opening of The RoyalDalton House assisted living facility in Homosassa, originally planned for this month, has been pushed back until around March to give management time to comply with a proposed new state law requiring back-up generators ...That’s over and above the 96 hours originally recommended by Gov ... 22 chamber of commerce ribbon-cutting ceremony is planned and she anticipates residents living there by March ... ....

An application for consent for the redevelopment of an Auckland retirement village is recommended to be granted after changes were made to the plans. The application is for a proposal to redevelop the existing facilities at Aria Bay Retirement Village in Browns Bay... The application was made in late 2016 and notified in January 2017 ... READ MORE. ... The hearing will be held at the council's Takapunachambers from 9.30am on December 18 and 19....

There he was whipped with a thick chain, struck with a metal bar and left with a broken leg after being beaten with a 14lb sledgehammer. During his captivity he was also pistol whipped with a Beretta 9000, fitted with a silencer ... Experts in the firearms forensics lab recovered Allan's DNA from blood which had seeped into the grip, chamber and magazine ... A police source said ... Related Topics. ....

If you are anything like me, you love this time of year! The smells. The music. The decorations, even if it, takes weeks to get it all put up and boxes stowed away. The hunt for the gift giving. The people. And I especially enjoy the traditions that have evolved over the years ...Illuminate, hosted by Conway’s Chamber and many area businesses, was a great event that culminated with the lighting of the Christmas tree downtown ... Caroling ... ....

EDEN PRAIRIE, Minn. (AP) — Everson Griffen revealed this week the foot problem that sidelined him for one of Minnesota's game last month was a plantar fascia injury ... That sure hasn't slowed him since he returned ... I'm going to work," said Griffen, who spent his Monday morning in a hyperbaric chamber, immersed in cryotherapy treatment, getting a massage and soaking in the hot and cold tubs before meeting with his personal movement coach ....